A new production brings together the diptych Die sieben Todsünden and Mahagonny Songspiel, performed for the first time in an empty theatre during the pandemic, and the new The Songs of Happy End. Irina Brook  builds a unitary and visionary direction, in which the three scores merge into a single narrative, centered on a fragmented and disillusioned humanity, victim of greed and exploitation. A rereading that updates the sharp social criticism of Brechtian texts in an environmentalist key, supported by an essential scenography entirely made with recycled materials and a sea of plastic bottles. In closing, a note suspended between dream and utopia with Youkali, a song that evokes an imaginary island where every wish can come true.